Entries in Cinematography
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In honor of the Year of the Month (1979) and horse racing’s most exciting month – with the second leg of the Triple Crown, the Preakness, being run today – Lynn Lee revisits a childhood favorite movie, The Black Stallion.

As a little girl, I didn’t ride horses but I loved reading about them, from Black Beauty to Misty of Chincoteague to just about every book in the Black Stallion series. Naturally I loved the Black Stallion movie and watched it multiple times in my pre-teen years. I recently decided to watch it again and see how I felt about it over two decades later. Here are the five things that struck me most strongly this time around:

1. How quiet the film is.There’s barely any dialogue. That makes sense for the first half, most of which takes place on a desert island where the two shipwrecked protagonists, the boy Alec and the Black Stallion, slowly earn each other’s trust. But even after they’re rescued and return to society and enter a big honking horse race, the quiet remains. Most of the human characters have only a handful of lines... [More]

Orson Welles burst on to the cinematic scene in 1941 with Citizen Kane, which has led numerous film polls across the decades as the 'Best Film Ever Made'. (Kane's nearest rivals for the title in frequent pollings here and there seem to be Vertigo and The Godfather) It famously lost all but one of its Oscar nominations (Orson Welles and Herman J. Mankiewicz his co-writer took the Original Screenplay prize, Welles' only competitive Oscar) but genius is rarely fully appreciated in its time. Incredibly, the writer/director/actor was only 26 at the time but he was no one hit wonder adding several more classics to his filmography before his death at 70 years of age in 1985. For today's Hit Me With Your Best Shot episode, our midseason finale (the series returns on June 3rd), I asked participants to choose between Citizen Kane (1941), The Magnificent Ambersons (1942, my personal favorite of his), and The Lady From Shanghai (1948) depending on what they felt like watching.

Hit Me With Your Best Shot S6.10 Mid Season Finale (See all the pics tonight at 11!)The Lady From Shanghai (1948)Directed by Orson Welles. Cinematography by Charles Lawton Jr.

Though we're usually tasked to watch the same film for Hit Me With Your Best Shot, today for the Orson Welles Centennial, participants had their choice of three films. I chose The Lady From Shanghai (1948) largely because the only image I ever see for it online is Orson Welles seizing Rita Hayworth, both of them reflected by mirrors in the über famous "Crazy House" finale. It's one of those movie sequences you learn by osmosis just watching other movies (remember Woody Allen's take on it in Manhattan Murder Mystery?) even before you get around to this 1948 noir (Technicall IMDb says 1947 but it was released practically everywhere in 1948). Though the hall of mirrors contains roughly 50 shots that could justifiably be called "Best" it's their proximity and their dizzying accumulation of lies (all about to shatter) that really does it for me so I looked elsewhere.

The Lady From Shanghai is gorgeously uncluttered. It's as if only the basic tropes have room to exist: the femme fatale, the narrating dupe, the shadows, and the crimes. It's so self aware it even toasts its own genre halfway through...

Here's to crime!"

You might even call it minimalist despite the famously baroque visual finale. It was the fourth Orson Welles picture and the first to be ignored entirely by the Academy when it opened in the summer of 1948 but it won the important battle: standing the test of time.

The movie plays its hand immediately, informing you that Elsa Bannister (Rita Hayworth) will be Michael O'Hara's (Orson Welles) undoing. But every time you look at her, which is often since Welles and Lawton Jr give Hayworth star vehicle closeups throughout, you hope it won't be true. One very smart recurring visual motif is that Mrs Bannister is bathed in light more often than she's in shadow. She so clearly has her own key light that at the tail end of the movie's first sequence, when Welles jumps in a horse drawn carriage with her, their images seem artificially conjoined since he's so shadowy and she's so bright.

But this lighting motif is a lie, one you catch if you a) believe the narration and b) listen to the dialogue of the film's oiliest and most repulsive character who refers to the paradise around these rich sharks as a "bright guilty world." One notable exception, the one I'd select as Best Shot if I could have two conjoined images to illustrate a point, is when Elsa and O'Hara meet in an quarium. This time they're both bathed in shadows though something is very different about the shots: when O'Hara stands next to the glass they're like harmless magnified fishies; when Elsa picks a spot to stand the marine life is far more disturbing, gasping for air.

But for Best Shot I'm going minimal, and brightly lit, conveying the intoxication of Rita Hayworth. The shot below is breathtaking in its sensuality; Elsa gets the full glamour treatment, the glistening eyes and slightly parted mouth, the soft but ample lighting. But Welles doesn't rest on his co-star and lover's beauty alone. There's an impressive array of choreographed movement that keeps whiplashing the camera back to her, reclined, through lots of business with her three men and one cigarette. You're constantly aware of the relationships between the four principles. This is is not a typical triangulated affair or evil quartet but a circle with Elsa Bannister always at its center.

best shot

And since we're speaking of juxtapositions, if you pair this hypnotic sequence -- your eyes are getting heavier... You will do whatever Rita breathily implores! -- with an even more brightly lit but far less serene shot of her face in the climax, this star turn reveals itself as quite a bifurcated triumph; it's half fawning iconography (until the mask of her glamour finally drops) and half shifty performance.

By all means if you haven't seen this movie -- or any of Orson Welles's masterpieces, do.

We're almost to the mid season finale of Hit Me With Your Best Shot. This week's episode looks at Jane Campion's sorely underseen Bright Star (2009). The romantic drama about the poet John Keats and his unconsummated love with the headstrong Fanny Brawne was lost in the 2009 shuffle, but is a true beauty and a worthy entry in Jane Campion's tremendous filmography. It introduced the film world to the then 34 year old DP Greig Frasier, who had previously made shorts and obscure features, before Campion's film provided his breakthrough. He went on to plum assignments like Foxcatcher, Zero Dark Thirty and Snow White and the Huntsman. Frasier has yet to be Oscar-nominated but he's already one of the best DPs in the business.

Even more impressive, given that Bright Star is such a successfully intimate portrait of new love, is that the movie introduced its star Ben Whishaw to its film composer Mark Bradshaw; they were married just three years later.

Bright Star's Best Shots11 images chosen by 13 participants(in the order the articles came in this time)Click on the pictures for their corresponding articles

NEXT WEDNESDAY NIGHT IS THE MID-SEASON FINALE. YOU HAVE A CHOICE OF ONE OF THREE MOVIES FOR THE ORSON WELLES CENTENNIAL: CITIZEN KANE, THE MAGNIFICENT AMBERSONS or THE LADY FROM SHANGHAI. See something you've always meant to see and pick a shot. You won't regret it.

The April Foolish Predictions probably won't be quite finished by April's end, damnit! So we'll have to save four categories (Actresses and Screenplays) for May 1st. Blame Nathaniel's BFF who has demanded a Marvel marathon which starts very soon and which will then usurp a good chunk of the next 24 hours of Nathaniel's life. Since the bestie rarely wants to play movie games, Nathaniel obliges. Nathaniel also talks about himself in the third person for which he apologizes.

But while we're talking Oscar predictions -- even deferred Oscar predictions - let's talk Visual Categories and Best Director. Since more charts are now up!

DIRECTORThis question will horrify the Birdman haters (they are depressingly legion) but could Alejandro González Iñárritu manage back-to-back Oscars for direction? It's only happened twice before, both times in the 1940s (John Ford in 1940/1941 and Joseph L Mankiewicz in 1949/1950), but since The Revenant will be such an about face from Birdman the fire could still be burning for honoring the Mexican auteur's work. Especially since Oscar has never ignored one of his films. Between the five titles there are 21 nominations and 5 wins so if the new picture becomes a perfect average it's looking at 4 nominations and an Oscar somewhere. Other previous winners that might be in play are Spielberg, Hooper, Howard, Zemeckis, Beatty or Boyle. And will David O. Russell or Quentin Tarantino ever actually win Best Director?

Newbies? On a whim I'm going to predict Denis Villeneuve who I've enjoyed for a long time and who seems very proud of Sicario (his FBI vs Cartel drama led by Emily Blunt) and whose career seems about to explode post Prisoners. If civil rights period drama Suffragette (Sarah Gavron)or The 33 (Patricia Riggen) are good enough might we finally have another female director nominated?

COSTUME DESIGNThere are a three potential double dippers this year from Oscar darlings Sandy Powell (Cinderella & Carol) and Jacqueline Durran (Pan & MacBeth) to Jane Petrie (you're saying "who?" but you'll know her by the end of the year since she went from relative unknown to suddenly prolific with four period pieces Suffragette, Jane Got a Gun, '71, and Genius which will all be released in 2015 in the States if Genius gets finished and gets distribution in time.

Elsewhere we have to wonder if the very talented long time costume designer Daniel Orlandi (Trumbo) is ever going to score his first nomination. And can I just say how amusing I find it that the great Jenny Beavan who has only ever been nominated for what some might derisively call 'masterpiece theater' style dramas costumed Mad Max: Fury Road this year? That's too fun!

PRODUCTION DESIGN, EDITING, CINEMATOGRAPHYCinematography could be a murderer's row of great again since Deakins, Lubezki, Kaminski, Deschanel and more all have projects this year. As for the rest and the general overview - i made small adjusments to picture and supporting actor as well due to rethink of craft categories and the hunch that Sicario might really be something with Blunt and Villeneuve both still rising -- check out the all chart index

As always, your comments are not just welcome but implored. Let's try the wisdom of crowds. What are you sensing at this extremely early date?

Glenn here with some sad news that broke late as America was tucking itself away in bed. Academy Award-winning cinematographer Andrew Lesnie has died of a heart attack at the age of 59. Most will know Lesnie as the man who photographed all of Peter Jackson’s Lord of the Rings and The Hobbit movies, but he will also be well-remembered by the local Australian industry for a 35-year-long career that covered the broad spectrum of scope and genre.

Lesnie got his start in the Australian film industry just after the new wave of the 1970s. Unlike fellow countrymen and Oscar-winners John Seale, Dean Semler and Russell Boyd, Lesnie more or less remained in Australia and New Zealand. He only ventured over to work in America once his work on Middle Earth gained him a level of industry respect that would bring him to I Am Legend and Dawn of the Planet of the Apes.

His early career was made up of low-budget indie works and 'ozploitation' films like Fair Game. He lensed Kylie Minogue’s big screen debut in the delicately shot The Delinquents, and eventually found international acclaim working on Babe. He won an “Australian Oscar” for his superb sun-drenched work on Doing Time for Patsy Cline and would bring the visual extravaganza of Babe: Pig in the City to life before shuffling over to New Zealand to work on no less than eight Peter Jackson movies. Despite his newfound global success, he kept working locally on the indigenous pop-musical Bran Nue Dae, anthology film The Turning with Cate Blanchett, and last year’s ex-con drama Healing.

Devastating news from home. The master of the light, genius Andrew Lesnie has passed on.Russell Crowe

Andrew Lesnie was a treat to work with. I am blown away by all he achieved. He'll be missed greatly. RIP.Jamie Bell

Lesnie died on Monday (Australian time). His final work was for Russell Crowe’s directorial debut, The Water Diviner, which was a giant success at the start of the year in Australia and has just opened in America. Perhaps it was his stubbornness to remain at home in his corner of the world that saw him never receive another nomination after winning in 2002 for The Fellowship of the Ring, but he won more than enough awards for the trilogy to make up for it. At only 59 he's far too young, but he leaves behind an admirable dedication to his home country's industry and an enviable roster of work.